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[
" \n \n ARON \n Cool. \n He picks it off his arm and places it on top of the rock next \n to where he's working. It's a grain of sand on the seashore \n but it's something.",
" ARON (CONT'D) \n Relax. Stop. Come on. \n He breathes and breathes, taking stock for the 1st time. \n \n \n \n CUT TO: \n \n 21.",
" ARON (CONT'D) \n So I have very little water. \n He can't help look in the camera towards those who know what \n that means in this place. \n \n ARON (CONT'D)",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" Aron looks at the beautiful white leather seat before he gets \n in the back of the helicopter. Surreal. It's a startling \n contrast to his Frankenstein, and even now it's not lost on \n him. \n",
" He takes long blinks and seems to avoid looking at himself \n though the screen is facing him. He looks alarmed and wide \n eyed, startled, in contrast to his slow slurred delivery. \n \n ARON (CONT'D)",
" ARON \n See you later... \n ... swallows quickly 2 'spoons' of urine without disturbing \n the sediment. Tangy and bitter, the saltiness makes him \n wince. \n",
" Aron leaves work: at no point do we see Aron. He's there, \n you sense him in reflective surfaces, his arms, particularly \n his right one and his feet occasionally come into shot. It's",
" ARON (CONT'D) \n Come on, move, dammit. \n \n \n Nothing. He stops. And stares directly at the knife below \n him. Absolute stillness. Nothing moves. Not him. Not even",
" can't believe he's done it. \n \n ARON (CONT'D) \n Shit!!! \n \n CUT TO: \n \n \n \n \n",
" CUT TO: \n \n \n \n \n \n INT. ARON'S TRUCK. NIGHT. \n \n \n ",
" \n \n \n \n ARON \n \n (SCREAMING) \n \n HELP!!! HELP!!!! OVER HERE!!! \n \n HEEELLLPP!!!",
" ARON \n Not good. \n He blows the whole lot into our face with a mighty gust. \n \n ARON (CONT'D) \n When in a hole....",
" video on the rock, as he has deliberately turned the screen \n away from himself. \n \n CUT TO: \n \n \n \n VIDEO: \n \n \n \n ARON",
" But no rest. \n \n CUT TO: \n \n \n \n \n \n INT. ARON'S TRUCK. DAY. \n",
" ARON \n (at his most instructor- \n ish, talking all the time \n as he makes his way down) \n You'll have to chimney down a \n little ways - like here, watch -",
" Eventually Aron's truck is now alone on an interstate road. \n \n 2. \n \n \n \n \n \n INT. ARON'S TRUCK. NIGHT. \n",
" \n \n ARON \n Sweet. \n \n CUT TO: \n \n 25. \n \n \n \n \n",
" possessions and puts his sunglasses on. \n \n ARON \n Ready for lift-off. \n He bounces his full weight in the stirrups and pulls on the \n haul line. It looks a better set up. \n",
" see his truck's lights running parallel with the blackness. \n \n CUT TO: \n \n \n \n INT. ARON'S TRUCK. NIGHT. \n"
],
[
" ARON (CONT'D) \n So I have very little water. \n He can't help look in the camera towards those who know what \n that means in this place. \n \n ARON (CONT'D)",
" ARON \n See you later... \n ... swallows quickly 2 'spoons' of urine without disturbing \n the sediment. Tangy and bitter, the saltiness makes him \n wince. \n",
" as much as he can into the bottle - \n \n \n \n ARON (CONT'D) \n No, no... more water. \n \n \n He caps the lid tightly and drops it into his pack. \n",
" With a little shake he opens it and drinks it all gulping \n open throated. He shakes any last drop down and runs his \n tongue up into the neck. He screws the lid back on and",
" \n \n INT. CANYON. NIGHT \n \n Aron ducks out of his head-bag and shakes his water bottle. \n Something he always does - to check the sound of real water.",
" CUT TO: \n \n \n \n \n \n VIDEO: \n \n ARON \n I have about one hundred and fifty \n millilitres of water left. That's",
" To make sure he hasn't drunk it all without knowing. He \n opens, tilts and holds as always and then ritualistically \n removes his contact lenses and washes them in his mouth. \n Suddenly a shiver tears across him like an attack dog. He",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" \n \n INT. ROPE BAG. NIGHT \n \n For Aron the volume of his and their shouting is deafening \n and the first human sounds he has heard for days. He",
" INT. CANYON. C/U: BOTTLE NECK \n \n \n \n The bottle neck stares at Aron. \n \n CUT TO: \n \n \n \n \n",
" INT. CANYON. C/U: ARON \n \n ... his eyes staring at the bottle neck. \n \n CUT TO: \n \n \n \n \n \n INT. CANYON. NIGHT.",
" Grabs his shirt and wipes sweat away and goes to drink. He \n hula-hoops out of his backpack to get access to the water, \n gulps down 3 full throatfulls - stops mid 4th and backwashes",
" obstructed by the boulder and stopped from getting to Aron) \n ...until it breaks. He shudders in shock and drops everything \n for minutes. His head lolls forward dripping. His mind \n swarming with trauma.",
" He still holds the water in his mouth as he rewinds the top \n onto the bottle and reburies it in the sand to stop any \n evaporation. He moves to pop his contact lenses into his",
" \n Midnight is celebrated with a tiny, careful, sip of the \n water. He holds it in his mouth. Puffing his cheeks, \n circulating the precious fluid around. \n \n \n \n CUT TO: \n",
" \n \n INT. ROPE BAG. BLACK. \n \n Breathing close but shallow and rasping. \n \n ARON \n God, it's Aron again. I still need",
" his world. The moment is broken by their offering him their \n water. It pours down his throat bypassing the swallow \n mechanism. \n \n \n \n CUT TO: \n \n \n \n \n",
" \n EXT. DESERT. CU on ARON. \n Wearing a pair of beat-up running shoes and thick wool-blend \n socks, Lycra biking shorts and a Phish tee shirt he has a",
" mouth and wash them in the moisture. First one then the other \n as we... \n \n \n \n CUT TO: \n \n \n \n INT. ARON'S APARTMENT. DAY. \n",
" close up as they come. If tears come, then now they come at \n the sight of humans. He mutters to himself. \n \n 72. \n \n \n \n \n \n ARON (CONT'D)"
],
[
" ARON (CONT'D) \n Come on, move, dammit. \n \n \n Nothing. He stops. And stares directly at the knife below \n him. Absolute stillness. Nothing moves. Not him. Not even",
" hooks through the little ring at the end of the knife. It \n lifts. \n \n CUT TO: \n \n \n \n INT. ARON IN CANYON. DAY. \n",
" INT. CANYON. NIGHT. \n \n Aron very still, listens to their screams. He looks at his \n knife dangling from his wrist by the shoelace. \n \n \n \n CUT TO:",
" No cut, no blood, nothing. He switches to the short knife \n and saws viciously at the same point. \n \n ARON (CONT'D) \n Shit!",
" obstructed by the boulder and stopped from getting to Aron) \n ...until it breaks. He shudders in shock and drops everything \n for minutes. His head lolls forward dripping. His mind \n swarming with trauma.",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" CUT TO: \n \n \n \n INT. CANYON. DAY. WIDE. \n \n We can see Aron in the distance pulling at his arm. Without",
" \n \n ARON \n It's three-oh-five on Sunday. This \n marks my twenty-four-hour mark of \n being stuck in Blue John Canyon \n above the Big Drop. My name is",
" slit above him. Blue, blue sky. \n \n \n \n CUT TO: \n \n \n \n INT. CANYON. DAY. \n \n \n \n \n ARON",
" ARON (CONT'D) \n \n HELP! HELLO! \n \n CUT TO: \n \n INT/EXT. PULL OUT OF CANYON. DAY. \n",
" He picks a point and begins to chip away with the knife. \n He's back - energy, movement, purpose, action makes him \n happy. He occasionally stops to look at his left hand, \n swollen and puffy and constantly in need of flexing. He gets",
" CUT TO: \n \n 19. \n \n \n \n \n \n INT. CANYON. TIGHTER ON ARON. DAY. \n",
" CUT TO: \n \n \n \n \n \n INT. CANYON. DAY. C/U TIGHT ON ARON. \n \n Just as he dangles there's a scraping sound, small but close,",
" But no rest. \n \n CUT TO: \n \n \n \n \n \n INT. ARON'S TRUCK. DAY. \n",
" ARON (CONT'D) \n Shit. \n \n 65. \n \n \n \n \n He pokes the thumb with the stubbed point of the blade. On",
" \n \n INT. ROPE BAG. NIGHT \n \n For Aron the volume of his and their shouting is deafening \n and the first human sounds he has heard for days. He",
" INT. BENEATH CANYON FLOOR. \n \n We're on a level with the knife in the little hole beneath \n his feet. An enormous overhead light switches on (Aron's",
" CUT TO: \n \n \n \n \n \n INT. ARON'S TRUCK. NIGHT. \n \n \n ",
" He lets go leaving the knife embedded. He swoons and stares \n at it. He slowly grasps the tool more firmly and wriggles it \n slightly, the blade connects with something hard. He taps the",
" will be probably impossible with \n one hand... between the blood loss \n and the dehydration I think I would \n die if I cut off my arm. \n \n ARON (CONT'D) \n Which means I'm waiting for someone"
],
[
" No cut, no blood, nothing. He switches to the short knife \n and saws viciously at the same point. \n \n ARON (CONT'D) \n Shit!",
" will be probably impossible with \n one hand... between the blood loss \n and the dehydration I think I would \n die if I cut off my arm. \n \n ARON (CONT'D) \n Which means I'm waiting for someone",
" The rock smashes the right hand and wrist against the wall \n and drags it down the remaining distance. Like a cheese \n grater it tears the skin from the back of the hand and the \n forearm, decorating the wall. Aron is powerless to stop its",
" CUT TO: \n \n \n \n INT. CANYON. DAY. WIDE. \n \n We can see Aron in the distance pulling at his arm. Without",
" And then he's back on the last action stretching the skin of \n his outer wrist tight and sawing the blade into the wall. \n It's a piece of gristle on a cutting board.",
" There's not a lot of blood. But he keeps working and working. \n Once the blood increases he puts the knife down on top of the \n rock and swiftly ties his tourniquet. \n \n ",
" He can't cut the tendon, no matter how hard he slices. But \n nothing will stop his addiction to surgery now. He folds in \n and swaps the blade for the pliers. He uses them to bite into",
" ARON (CONT'D) \n Come on, move, dammit. \n \n \n Nothing. He stops. And stares directly at the knife below \n him. Absolute stillness. Nothing moves. Not him. Not even",
" He lets go leaving the knife embedded. He swoons and stares \n at it. He slowly grasps the tool more firmly and wriggles it \n slightly, the blade connects with something hard. He taps the",
" Sawing downwards he makes as large a hole as he can without \n tearing any of the noodle like veins. He puts the knife in \n his teeth and pokes his left forefinger and thumb inside his \n right arm.",
" spot just above the rock's grip on his right wrist, he \n hesitates and then violently plunges the blade into his arm \n up to the hilt. \n \n ",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" obstructed by the boulder and stopped from getting to Aron) \n ...until it breaks. He shudders in shock and drops everything \n for minutes. His head lolls forward dripping. His mind \n swarming with trauma.",
" He releases the tourniquet and as the blood flow returns a \n series of angry red lines establish themselves where he was \n sawing. He looks at them. \n \n ARON (CONT'D) \n Pathetic, Aron, pathetic.",
" impossibly dry and rasping and then, as simply as this all \n began, his shoulders open and he's free...... \n He staggers back, one, two, three steps away from his arm... \n \n ",
" \n \n ARON \n Cool. \n He picks it off his arm and places it on top of the rock next \n to where he's working. It's a grain of sand on the seashore \n but it's something.",
" Looking down onto the ground, around his leg, his toes \n holding the stick like a chopstick lift the knife out and up \n tremulously, breathlessly, towards his good arm. He picks it \n off the stick gently. Big smile. First one. \n",
" my arm off. \n \n \n \n PAUSE \n \n ARON (CONT'D) \n I don't know whether I could do \n that but it's pretty much suicide.",
" He picks a point and begins to chip away with the knife. \n He's back - energy, movement, purpose, action makes him \n happy. He occasionally stops to look at his left hand, \n swollen and puffy and constantly in need of flexing. He gets",
" Alternative; he starts digging away at the wall instead, same \n result. \n \n ARON (CONT'D) \n Fuck. It's hard as iron. \n Pause. \n \n "
],
[
" \n \n INT. ROPE BAG. NIGHT \n \n For Aron the volume of his and their shouting is deafening \n and the first human sounds he has heard for days. He",
" boy, walking downhill towards the sofa. The boy leaps off the \n sofa and comes running to Aron. \n \n 62. \n \n \n \n ",
" He scoops the boy up with his left arm and balances him \n around his shoulders with his right handed stump. The boy \n holds Aron's arms in his little hands and they prance around",
" The girls don't reply, just look at each other. \n \n \n \n ARON (CONT'D) \n I'm on my own. I'm Aron. \n \n CUT TO: \n",
" They're walking again. \n \n ARON (CONT'D) \n Hey, but I like a beer like the \n next man. You know, end of the day. \n \n \n \n CUT TO: \n",
" close up as they come. If tears come, then now they come at \n the sight of humans. He mutters to himself. \n \n 72. \n \n \n \n \n \n ARON (CONT'D)",
" ARON (CONT'D) \n Relax. Stop. Come on. \n He breathes and breathes, taking stock for the 1st time. \n \n \n \n CUT TO: \n \n 21.",
" all understanding... \n \n \n \n ARON \n Mom. \n \n MOM \n My boy. My only one. There you are. \n She strokes his head so gently. \n \n \n",
" can't believe he's done it. \n \n ARON (CONT'D) \n Shit!!! \n \n CUT TO: \n \n \n \n \n",
" obstructed by the boulder and stopped from getting to Aron) \n ...until it breaks. He shudders in shock and drops everything \n for minutes. His head lolls forward dripping. His mind \n swarming with trauma.",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" CUT TO: \n \n \n \n INT. CANYON. DAY. WIDE. \n \n We can see Aron in the distance pulling at his arm. Without",
" then he pushes out another heartbreaking - \n \n ARON (CONT'D) \n \n HELP ME! I NEED HELP! \n The figures begin to run towards him. We watch his face in",
" \n \n ARON \n Sweet. \n \n CUT TO: \n \n 25. \n \n \n \n \n",
" ARON (CONT'D) \n Come on, move, dammit. \n \n \n Nothing. He stops. And stares directly at the knife below \n him. Absolute stillness. Nothing moves. Not him. Not even",
" though no one acknowledges Aron as we stay attached to his \n shoulder. There's a mini-Scooby Doo dancing in the main room \n and there's a light, early party atmosphere. Aron searches",
" Hot damn, girl. I'm very proud of \n you. Not just for that but for who \n you are. \n He looks directly in the lens for the first time. \n \n \n \n ARON (CONT'D)",
" ARON \n I swear I won't look but I swear \n you won't care when you get out \n here... \n \n \n We've been moving towards him as he rushes towards us, spider",
" \n \n INT. ROPE BAG. BLACK. \n \n Breathing close but shallow and rasping. \n \n ARON \n God, it's Aron again. I still need",
" Towards us comes Aron, upside down, like a tiny, fast spider, \n talking all the time, his voice echoing. \n \n ARON \n There's thousands of holds but you"
],
[
" ARON (CONT'D) \n Relax. Stop. Come on. \n He breathes and breathes, taking stock for the 1st time. \n \n \n \n CUT TO: \n \n 21.",
" can't believe he's done it. \n \n ARON (CONT'D) \n Shit!!! \n \n CUT TO: \n \n \n \n \n",
" \n \n ARON \n Sweet. \n \n CUT TO: \n \n 25. \n \n \n \n \n",
" Aron looks at the beautiful white leather seat before he gets \n in the back of the helicopter. Surreal. It's a startling \n contrast to his Frankenstein, and even now it's not lost on \n him. \n",
" That's all your miracle days used \n up kid. You need to rest. You can \n stand everyone a beer later. \n Aron is greeted by medics. Needles. Care. Machines. Tubes. \n \n ARON",
" \n \n ARON \n Cool. \n He picks it off his arm and places it on top of the rock next \n to where he's working. It's a grain of sand on the seashore \n but it's something.",
" ARON (CONT'D) \n Come on, move, dammit. \n \n \n Nothing. He stops. And stares directly at the knife below \n him. Absolute stillness. Nothing moves. Not him. Not even",
" Aron is clearly there but can't answer. \n \n \n \n ANSAPHONE (MOM) (CONT'D) \n Call me. Lots of love. \n \n CUT TO: \n \n ",
" CUT TO: \n \n \n \n \n \n INT. ARON'S TRUCK. NIGHT. \n \n \n ",
" ARON \n See you later... \n ... swallows quickly 2 'spoons' of urine without disturbing \n the sediment. Tangy and bitter, the saltiness makes him \n wince. \n",
" But no rest. \n \n CUT TO: \n \n \n \n \n \n INT. ARON'S TRUCK. DAY. \n",
" ARON (CONT'D) \n \n HELP! HELLO! \n \n CUT TO: \n \n INT/EXT. PULL OUT OF CANYON. DAY. \n",
" Eventually Aron's truck is now alone on an interstate road. \n \n 2. \n \n \n \n \n \n INT. ARON'S TRUCK. NIGHT. \n",
" Aron leaves work: at no point do we see Aron. He's there, \n you sense him in reflective surfaces, his arms, particularly \n his right one and his feet occasionally come into shot. It's",
" ARON (CONT'D) \n So I have very little water. \n He can't help look in the camera towards those who know what \n that means in this place. \n \n ARON (CONT'D)",
" INT. UNDERWATER. DAY. \n \n \n \n Underwater. A figure dives in, pulling strong breast strokes \n down and towards us. Its Aron, fully recovered after surgery.",
" hooks through the little ring at the end of the knife. It \n lifts. \n \n CUT TO: \n \n \n \n INT. ARON IN CANYON. DAY. \n",
" No cut, no blood, nothing. He switches to the short knife \n and saws viciously at the same point. \n \n ARON (CONT'D) \n Shit!",
" ARON (QUIET, CLEAR) (CONT'D) \n Get rid of it Aron, it's dead, it's \n garbage. \n He drops to his haunches but the webbing stops him at his",
" CUT TO: \n \n \n \n \n \n REALTIME - TIME-LAPSE: \n \n \n Aron is deathly still as we travel towards him with the"
],
[
" He pushes and pushes with his left hand under the boulder to \n create maximum downward force on his right arm. Hard, harder, \n HARDER. It looks insane, unnatural and painful, but he says \n nothing. \n \n ",
" obstructed by the boulder and stopped from getting to Aron) \n ...until it breaks. He shudders in shock and drops everything \n for minutes. His head lolls forward dripping. His mind \n swarming with trauma.",
" CUT TO: \n \n \n \n INT. CANYON. DAY. WIDE. \n \n We can see Aron in the distance pulling at his arm. Without",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" The rock smashes the right hand and wrist against the wall \n and drags it down the remaining distance. Like a cheese \n grater it tears the skin from the back of the hand and the \n forearm, decorating the wall. Aron is powerless to stop its",
" \n Air exploding out of his lungs. And then a quiet hollow \n sound of the boulder shifting fractionally. A howl of \n phenomenal pain - \n \n \n \n ARON (CONT'D) \n",
" \n \n ARON \n Cool. \n He picks it off his arm and places it on top of the rock next \n to where he's working. It's a grain of sand on the seashore \n but it's something.",
" \n Pulls and pulls, yanks until his shoulder will dislocate, but \n nothing moves. Sweat, anxiety flaring, hot pain. \n \n ARON (CONT'D) \n",
" did you get your hand trapped by a \n fucking boulder? Its crushed, it's \n fucking dying man! \n He reaches up and touches the trail of blood, hair and skin \n left on the canyon wall as the rock pushed him to where he",
" churning slush and debris and malevolent water. The light \n flicks on. He can see his arm and the rock. Suddenly the \n water lifts the chockstone and his arm releases. He pulls it",
" ARON (CONT'D) \n Come on, move, dammit. \n \n \n Nothing. He stops. And stares directly at the knife below \n him. Absolute stillness. Nothing moves. Not him. Not even",
" \n Boy, his arm and his legs are aching now. \n \n CUT TO: \n \n \n \n INT. ABOVE ARON, LOOKING DOWN INTO CANYON. NIGHT. \n \n",
" Alternative; he starts digging away at the wall instead, same \n result. \n \n ARON (CONT'D) \n Fuck. It's hard as iron. \n Pause. \n \n ",
" leg but he can't twist to get anywhere near it. He tries to \n pull the canyon wall off balance to get closer. No chance. \n \n 24. \n \n \n \n \n \n ARON",
" He scoops the boy up with his left arm and balances him \n around his shoulders with his right handed stump. The boy \n holds Aron's arms in his little hands and they prance around",
" ARON (QUIET, CLEAR) (CONT'D) \n Get rid of it Aron, it's dead, it's \n garbage. \n He drops to his haunches but the webbing stops him at his",
" waist. He detaches it and drops down again, almost able to \n squat. His trapped arm is the only thing preventing that. \n His face is suddenly open. \n \n ",
" INT. CANYON. DAY. VIDEO FOOTAGE. \n \n \n ARON \n What you're looking at there is my \n arm, going into the rock... and \n there it is, stuck. It's been",
" \n \n ARON \n It's three-oh-five on Sunday. This \n marks my twenty-four-hour mark of \n being stuck in Blue John Canyon \n above the Big Drop. My name is",
" Something's not right. It's a difficult overhang and he's \n awkward and vulnerable with only one useful arm. His bad arm \n catches horribly on the lip of the ledge. Suddenly he starts"
],
[
" obstructed by the boulder and stopped from getting to Aron) \n ...until it breaks. He shudders in shock and drops everything \n for minutes. His head lolls forward dripping. His mind \n swarming with trauma.",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" \n \n ARON \n Cool. \n He picks it off his arm and places it on top of the rock next \n to where he's working. It's a grain of sand on the seashore \n but it's something.",
" EXT. HIGH ABOVE ARON. BLUE JOHN CANYON. DAY. \n \n \n \n His sense of momentum is established again and it's clear",
" \n Air exploding out of his lungs. And then a quiet hollow \n sound of the boulder shifting fractionally. A howl of \n phenomenal pain - \n \n \n \n ARON (CONT'D) \n",
" We see a section of the canyon and the tiny figure of Aron \n moving within it. We track in and elide into a graphic view \n of him chimneying his way along the canyon now only 3 ft wide",
" A flashing, strobe-ing light - Aron's head-lamp bouncing back \n and forth off the canyon walls - but also, as he continues to \n chip away... \n \n \n",
" CUT TO: \n \n \n \n INT. CANYON. DAY. WIDE. \n \n We can see Aron in the distance pulling at his arm. Without",
" \n Boy, his arm and his legs are aching now. \n \n CUT TO: \n \n \n \n INT. ABOVE ARON, LOOKING DOWN INTO CANYON. NIGHT. \n \n",
" ARON'S UPWARD POV. \n When it can get no louder Obscuring the light on \n a horse leaps the 6 ft gap his face once they've \n at the top of the canyon. gone and only dust",
" He pushes and pushes with his left hand under the boulder to \n create maximum downward force on his right arm. Hard, harder, \n HARDER. It looks insane, unnatural and painful, but he says \n nothing. \n \n ",
" He watches the chockstone follow him - not looking where he's \n going. \n \n CUT TO: \n \n \n \n \n \n INT. CANYON. ARON'S POV. DAY.",
" possessions and puts his sunglasses on. \n \n ARON \n Ready for lift-off. \n He bounces his full weight in the stirrups and pulls on the \n haul line. It looks a better set up. \n",
" EXT. BLUE JOHN CANYON. DAY. \n \n \n ARON \n Easy Aron, easy now. \n He keeps moving, descending still, but a little more",
" \n \n INT. CANYON. DAWN. \n \n Aron is very still, looking at the rock and the open blade \n lying on top of it. Suddenly he looks over his shoulder to \n see... \n",
" ARON (QUIET, CLEAR) (CONT'D) \n Get rid of it Aron, it's dead, it's \n garbage. \n He drops to his haunches but the webbing stops him at his",
" INT. CANYON. C/U: BOTTLE NECK \n \n \n \n The bottle neck stares at Aron. \n \n CUT TO: \n \n \n \n \n",
" \n \n CUT TO: \n \n \n \n INT. CANYON. ON CHOCKSTONE. DAY. \n \n But it follows him down, somehow he's released its latent \n energy.",
" Hot damn, girl. I'm very proud of \n you. Not just for that but for who \n you are. \n He looks directly in the lens for the first time. \n \n \n \n ARON (CONT'D)",
" The rock smashes the right hand and wrist against the wall \n and drags it down the remaining distance. Like a cheese \n grater it tears the skin from the back of the hand and the \n forearm, decorating the wall. Aron is powerless to stop its"
],
[
" \n \n \n \n ARON (CONT'D) \n I made an attempt - a short career \n in surgery, as it turned out - \n those knives are just not anywhere",
" \n \n ARON \n Cool. \n He picks it off his arm and places it on top of the rock next \n to where he's working. It's a grain of sand on the seashore \n but it's something.",
" ARON (CONT'D) \n Relax. Stop. Come on. \n He breathes and breathes, taking stock for the 1st time. \n \n \n \n CUT TO: \n \n 21.",
" Eventually Aron's truck is now alone on an interstate road. \n \n 2. \n \n \n \n \n \n INT. ARON'S TRUCK. NIGHT. \n",
" ARON \n See you later... \n ... swallows quickly 2 'spoons' of urine without disturbing \n the sediment. Tangy and bitter, the saltiness makes him \n wince. \n",
" obstructed by the boulder and stopped from getting to Aron) \n ...until it breaks. He shudders in shock and drops everything \n for minutes. His head lolls forward dripping. His mind \n swarming with trauma.",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" \n \n ARON \n It's three-oh-five on Sunday. This \n marks my twenty-four-hour mark of \n being stuck in Blue John Canyon \n above the Big Drop. My name is",
" ARON (CONT'D) \n Come on, move, dammit. \n \n \n Nothing. He stops. And stares directly at the knife below \n him. Absolute stillness. Nothing moves. Not him. Not even",
" Aron looks at the beautiful white leather seat before he gets \n in the back of the helicopter. Surreal. It's a startling \n contrast to his Frankenstein, and even now it's not lost on \n him. \n",
" At the southwest edge of Green River, Aron Ralston drives \n under the interstate into a landscape of obscurity. He looks \n to his right and left, not a single light perforates the \n absolute blackness of the San Rafael Desert.",
" \n \n ARON \n Sweet. \n \n CUT TO: \n \n 25. \n \n \n \n \n",
" ARON (CONT'D) \n \n HELP! HELLO! \n \n CUT TO: \n \n INT/EXT. PULL OUT OF CANYON. DAY. \n",
" (MORE) \n \n 54. \n \n \n \n ARON (CONT'D) \n I really have lived this last year. \n I wish I had learned some lessons",
" slit above him. Blue, blue sky. \n \n \n \n CUT TO: \n \n \n \n INT. CANYON. DAY. \n \n \n \n \n ARON",
" But no rest. \n \n CUT TO: \n \n \n \n \n \n INT. ARON'S TRUCK. DAY. \n",
" He scoops the boy up with his left arm and balances him \n around his shoulders with his right handed stump. The boy \n holds Aron's arms in his little hands and they prance around",
" OF COURSE, ALL THESE INTERCUT WITH ARON AND HIS TRUCK. AND \n THE LANDSCAPE. \n \n \n \n A TITLE CARD READS:",
" hooks through the little ring at the end of the knife. It \n lifts. \n \n CUT TO: \n \n \n \n INT. ARON IN CANYON. DAY. \n",
" close up as they come. If tears come, then now they come at \n the sight of humans. He mutters to himself. \n \n 72. \n \n \n \n \n \n ARON (CONT'D)"
],
[
" Even uphill he hammers his way up the sandstone. Gasping for \n oxygen, his legs screaming for rest, he pushes and pushes \n until the crest and then down, down, instant speed and he can",
" beginning to see there's a ferocious blizzard outside. And \n we appear to be badly exposed to it. Up a mountain, on the \n crest of a high road... Snow, hail, swirls savagely around",
" \n He walks shedding any weight that might reduce how long he \n can keep going; his equipment, carabiners, headphones; his \n harness left like a spent snake skin behind him. He keeps to",
" at most. It's a chance to see his skill and thirst for \n climbing. And to see how deep he's going. \n \n 18. \n \n \n \n ",
" But on he goes, 100 ft of the rope trailing behind him. As \n we follow its progress snaking after him we see specs of \n blood on the lower walls. \n \n ",
" that cried \"Help, I need help\". \n Monique and I immediately realized \n that this had to be the missing \n person. \n \n (MORE) \n \n 73. \n \n \n",
" Hang in there Aron. \n At they get closer he summons a surge of energy from \n somewhere. \n \n ARON (CONT'D) \n My name is Aron Ralston. I was",
" Everything now is forcing us towards the boulder, cramping us \n in with him impossibly close, he's sweating and heaving, his \n vision blurring with tears, his contacts failing, his breath",
" The boulder did what it was here to \n do. It was waiting for me but it \n did the only natural thing it could \n do. I chose to come here, I chose \n to do this descent by myself. I",
" We see a section of the canyon and the tiny figure of Aron \n moving within it. We track in and elide into a graphic view \n of him chimneying his way along the canyon now only 3 ft wide",
" off and alternates the feet. He looks like he's doing yoga. \n As it leaves him passing overhead it suddenly bursts into the \n opening in front of him. \n \n 29. \n \n \n \n ",
" ARON'S UPWARD POV. \n When it can get no louder Obscuring the light on \n a horse leaps the 6 ft gap his face once they've \n at the top of the canyon. gone and only dust",
" canyon walls, to find a miner in the distance digging into \n the rock. It's Aron of course, and his head-lamp is filled \n with the dust swirling through. He's using the shorter file",
" tan and maroon. They seem to stare back at him. He salutes \n them in his own way and continues. \n \n \n He banks left beneath a colossal alcove high up in the cliff",
" Aron on top of a snowy peak. Self shot. Classic pose. \n Breathtaking backdrop. \n \n ARON (V.O.) \n I've done 46 of the 59 winter solo \n ascents. \n",
" ropes; creating footholds and bouncing in them with his foot, \n his knees, his ass. \n \n \n \n \n \n \n Finally he stops. He looks down. For a moment it's as though",
" \n He's stepped into his harness and is throwing 30ft of rope up \n towards us. There's a tangle of knots and carabiners looking \n for purchase close to camera. Each time it falls back all",
" including Mark V.E. mill around their 4 x 4s. There are \n multiple lights in the distance but it's unclear what it \n might be. The vehicles' own headlights illuminate Rana, a",
" successful break. \n Still he says nothing. \n \n \n Now he humps his body up and over the chockstone, smearing \n his feet, one with a shoe, one without, against the wall, he",
" final stages-he's brutally practical. \n \n ERIK \n We are the Mejers from Holland. \n You should stop and rest. \n \n ARON \n No, we need to keep hiking."
],
[
" and he's clearly in the deep background of a vehicle. In \n front of him a half a dozen of his friends (boys and \n girls)... and Rana, excitedly chatting. Though we can hear \n nothing. \n \n 52.",
" At the southwest edge of Green River, Aron Ralston drives \n under the interstate into a landscape of obscurity. He looks \n to his right and left, not a single light perforates the \n absolute blackness of the San Rafael Desert.",
" for the girls, approaching any cluster to see which girls \n they contain. Rana is there but doesn't acknowledge him. \n \n 51. \n \n \n \n ",
" Hang in there Aron. \n At they get closer he summons a surge of energy from \n somewhere. \n \n ARON (CONT'D) \n My name is Aron Ralston. I was",
" \n \n INT. ROPE BAG. NIGHT \n \n For Aron the volume of his and their shouting is deafening \n and the first human sounds he has heard for days. He",
" including Mark V.E. mill around their 4 x 4s. There are \n multiple lights in the distance but it's unclear what it \n might be. The vehicles' own headlights illuminate Rana, a",
" holler as Rana smiles beautifully at Aron. \n \n RANA (CONT'D) \n And remember, stick together, the \n desert wants to kill you. \n \n CUT TO: \n \n \n",
" he walks along side. They're aware of him before he arrives: \n \n ARON \n Hey. Are you doing the east pike? \n Can I come along with you for a \n while?",
" Aron Ralston. My parents are Donna \n and Larry Ralston of Englewood, \n Colorado. Whoever finds this, \n please make an attempt to get this \n to them. Be sure of it. I would \n appreciate it.",
" that cried \"Help, I need help\". \n Monique and I immediately realized \n that this had to be the missing \n person. \n \n (MORE) \n \n 73. \n \n \n",
" So are you guys ok with me? \n \n RANA \n Yeah. We split up a while back when \n you were in hospital. \n \n ARON \n Christine told me. \n \n \n",
" recycling his overnight insulation gear into a crude lift and \n pulley. \n Obsessive, inventive, analytical, he constantly adjusts and \n adds and subtracts, and cannibalizes. Undoing and tieing",
" RANA \n What about the climbing? \n Aron reaches in his bag and pulls out his scary looking \n prosthetic arm / axe. He clinks the points together. She \n doesn't laugh, maybe a smile. \n",
" They're walking again. \n \n ARON (CONT'D) \n Hey, but I like a beer like the \n next man. You know, end of the day. \n \n \n \n CUT TO: \n",
" possessions into his backpack. Simultaneously he opens his \n mouth to gather any drops he can into his parched throat. \n \n \n \n CUT TO: \n \n \n \n \n",
" possessions and puts his sunglasses on. \n \n ARON \n Ready for lift-off. \n He bounces his full weight in the stirrups and pulls on the \n haul line. It looks a better set up. \n",
" \n There's a pause as they look at this refugee from a low \n budget horror movie. He hungrily eyes the water bottles \n attached to their waist bands. This gives them a way in to",
" The girls don't reply, just look at each other. \n \n \n \n ARON (CONT'D) \n I'm on my own. I'm Aron. \n \n CUT TO: \n",
" They both laugh. But he also answers. \n \n \n \n ARON \n Rana, before I did it I was \n hallucinating, I saw this child, a \n little blond boy - \n",
" But on he goes, 100 ft of the rope trailing behind him. As \n we follow its progress snaking after him we see specs of \n blood on the lower walls. \n \n "
],
[
" \n \n EXT. BLUE JOHN CANYON. SHORT SLOT ENTRY. DAY. \n \n Aron keeps descending, the canyon walls growing taller and \n closer, into the narrowing slot canyon.",
" sky above. \n \n \n \n CUT TO: \n \n \n \n \n \n EXT. SLOT CANYON. DAY. ARON'S POV. \n",
" We see a section of the canyon and the tiny figure of Aron \n moving within it. We track in and elide into a graphic view \n of him chimneying his way along the canyon now only 3 ft wide",
" slit above him. Blue, blue sky. \n \n \n \n CUT TO: \n \n \n \n INT. CANYON. DAY. \n \n \n \n \n ARON",
" INT. SLOT CANYON. DAY (NOTE: FROM HERE ON CANYON SHOTS INT.) \n \n \n \n He spins and continues, seeing the first huge chockstones,",
" ... to see the slot canyon, back and back and back, nothing \n more than a dry crack in the surface of this massive land. \n Gradually his cries for help become inaudible. \n \n CUT TO: \n \n ",
" At the southwest edge of Green River, Aron Ralston drives \n under the interstate into a landscape of obscurity. He looks \n to his right and left, not a single light perforates the \n absolute blackness of the San Rafael Desert.",
" He uses his legs, back and natural body weight to body walk \n along and down the towering walls. \n \n CUT TO: \n \n \n \n INT. SLOT CANYON. DAY. \n \n",
" S-shaped log, sand bleached and wind dried it looks like a \n massive reptile making its way down the canyon. Beyond it, \n Aron can see his route down disappearing into narrowing \n darkness. \n",
" INT. CANYON. DAY. SINGLE SCREEN. \n \n We tilt down the wall (still reflected on inside of bag) to \n see Aron completing his obit. Scratched on wall of canyon:",
" I hate this fucking canyon. \n \n \n A small mushroom cloud of pulverized grit and dust erupts \n each time. \n \n \n \n ARON (CONT'D)",
" \n \n INT. SLOT CANYON. DAY. \n \n Now it's steeper. We're already 60ft below ground level and \n it's falling away further in front of us. Another drink and",
" 17. \n \n \n \n \n \n INT. DEEPER INTO THE CANYON. DAY. \n \n The slot is now just 4ft wide and as he stops to look at",
" CUT TO: \n \n 19. \n \n \n \n \n \n INT. CANYON. TIGHTER ON ARON. DAY. \n",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" \n \n ARON \n It's three-oh-five on Sunday. This \n marks my twenty-four-hour mark of \n being stuck in Blue John Canyon \n above the Big Drop. My name is",
" \n \n INT. CANYON. DAY. ARON'S POV BACK UP THE CANYON. \n \n The noise is there still. Again he screams and screams. \n \n \n",
" EXT. BLUE JOHN CANYON. DAY. \n \n \n ARON \n Easy Aron, easy now. \n He keeps moving, descending still, but a little more",
" ARON (CONT'D) \n \n HELP! HELLO! \n \n CUT TO: \n \n INT/EXT. PULL OUT OF CANYON. DAY. \n",
" hooks through the little ring at the end of the knife. It \n lifts. \n \n CUT TO: \n \n \n \n INT. ARON IN CANYON. DAY. \n"
],
[
" The rock smashes the right hand and wrist against the wall \n and drags it down the remaining distance. Like a cheese \n grater it tears the skin from the back of the hand and the \n forearm, decorating the wall. Aron is powerless to stop its",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" stretching and contorting to see into his crushed and \n wretched hand where his thumb is visible above and his little \n finger below. No matter how much he touches them, there is \n no feeling. He prods up and down to see what feeling is left",
" He scoops the boy up with his left arm and balances him \n around his shoulders with his right handed stump. The boy \n holds Aron's arms in his little hands and they prance around",
" obstructed by the boulder and stopped from getting to Aron) \n ...until it breaks. He shudders in shock and drops everything \n for minutes. His head lolls forward dripping. His mind \n swarming with trauma.",
" \n \n ARON \n Cool. \n He picks it off his arm and places it on top of the rock next \n to where he's working. It's a grain of sand on the seashore \n but it's something.",
" ARON (QUIET, CLEAR) (CONT'D) \n Get rid of it Aron, it's dead, it's \n garbage. \n He drops to his haunches but the webbing stops him at his",
" Aron leaves work: at no point do we see Aron. He's there, \n you sense him in reflective surfaces, his arms, particularly \n his right one and his feet occasionally come into shot. It's",
" \n Pulls and pulls, yanks until his shoulder will dislocate, but \n nothing moves. Sweat, anxiety flaring, hot pain. \n \n ARON (CONT'D) \n",
" He looks at his 'good' hand. It's swollen and angry red like \n an inflated prosthetic on top and around of his real hand. He \n takes off his shoe and pulls the sock over his hand to",
" ARON (CONT'D) \n So I have very little water. \n He can't help look in the camera towards those who know what \n that means in this place. \n \n ARON (CONT'D)",
" \n Air exploding out of his lungs. And then a quiet hollow \n sound of the boulder shifting fractionally. A howl of \n phenomenal pain - \n \n \n \n ARON (CONT'D) \n",
" knife down and feels it knocking on the radius of his upper \n forearm bone. \n He puts his ear close and we can hear the little thocking \n sound. \n \n \n \n ARON",
" ARON (CONT'D) \n Come on, move, dammit. \n \n \n Nothing. He stops. And stares directly at the knife below \n him. Absolute stillness. Nothing moves. Not him. Not even",
" tourniquet and bright red bunched up crushes of flesh between \n the elbow and the tourniquet. \n \n ARON (CONT'D) \n Oh yeah. That aches.",
" He takes long blinks and seems to avoid looking at himself \n though the screen is facing him. He looks alarmed and wide \n eyed, startled, in contrast to his slow slurred delivery. \n \n ARON (CONT'D)",
" waist. He detaches it and drops down again, almost able to \n squat. His trapped arm is the only thing preventing that. \n His face is suddenly open. \n \n ",
" Towards us comes Aron, upside down, like a tiny, fast spider, \n talking all the time, his voice echoing. \n \n ARON \n There's thousands of holds but you",
" ARON \n (at his most instructor- \n ish, talking all the time \n as he makes his way down) \n You'll have to chimney down a \n little ways - like here, watch -",
" He releases the tourniquet and as the blood flow returns a \n series of angry red lines establish themselves where he was \n sawing. He looks at them. \n \n ARON (CONT'D) \n Pathetic, Aron, pathetic."
],
[
" waist. He detaches it and drops down again, almost able to \n squat. His trapped arm is the only thing preventing that. \n His face is suddenly open. \n \n ",
" to occupy himself, to pass time, to create heat from energy, \n but he has to be careful not to stab himself in the eye. He \n thrusts his left arm into the newly fashioned sleeve, pulling \n it up with his teeth.",
" He lets go leaving the knife embedded. He swoons and stares \n at it. He slowly grasps the tool more firmly and wriggles it \n slightly, the blade connects with something hard. He taps the",
" impossibly dry and rasping and then, as simply as this all \n began, his shoulders open and he's free...... \n He staggers back, one, two, three steps away from his arm... \n \n ",
" The rock smashes the right hand and wrist against the wall \n and drags it down the remaining distance. Like a cheese \n grater it tears the skin from the back of the hand and the \n forearm, decorating the wall. Aron is powerless to stop its",
" He picks a point and begins to chip away with the knife. \n He's back - energy, movement, purpose, action makes him \n happy. He occasionally stops to look at his left hand, \n swollen and puffy and constantly in need of flexing. He gets",
" churning slush and debris and malevolent water. The light \n flicks on. He can see his arm and the rock. Suddenly the \n water lifts the chockstone and his arm releases. He pulls it",
" He pushes and pushes with his left hand under the boulder to \n create maximum downward force on his right arm. Hard, harder, \n HARDER. It looks insane, unnatural and painful, but he says \n nothing. \n \n ",
" He watches them devour him and then he clears them away from \n his hand. Suddenly breaks and he's busy now well before \n sunrise. In the grey-white, soft morning he is involved in",
" I hate this fucking mess. \n \n \n Finally he stops but his fingers are paralyzed, fused rigid \n around the rock. He pulls them off with his teeth and the \n stone drops to his feet. \n \n ",
" He can rotate his forearm like a shaft inside a housing. \n Giving himself no time to wake up he grabs the knife, looks \n at the watch- \n \n CUT TO: \n \n \n",
" He can't cut the tendon, no matter how hard he slices. But \n nothing will stop his addiction to surgery now. He folds in \n and swaps the blade for the pliers. He uses them to bite into",
" Sawing downwards he makes as large a hole as he can without \n tearing any of the noodle like veins. He puts the knife in \n his teeth and pokes his left forefinger and thumb inside his \n right arm.",
" around the fore arm, knotted twice and clipped with a \n carabiner that he twists 6 times. He secures the fix by \n attaching the purple webbing. \n \n \n Looks to his watch \n",
" from the multi tool and has tied a shoe lace to his wrist and \n looped through the ring at the end of the tool. He pulls his \n cap down, to keep most of the dust out of his eyes. His lips",
" \n \n CUT TO: \n \n \n \n INT. CANYON. ON CHOCKSTONE. DAY. \n \n But it follows him down, somehow he's released its latent \n energy.",
" angles as he almost taps the side of his eye socket. \n Suddenly, he hammers down with ten times more force onto the \n handle of the knife, the rock explodes in his hand, showering",
" There's not a lot of blood. But he keeps working and working. \n Once the blood increases he puts the knife down on top of the \n rock and swiftly ties his tourniquet. \n \n ",
" off and alternates the feet. He looks like he's doing yoga. \n As it leaves him passing overhead it suddenly bursts into the \n opening in front of him. \n \n 29. \n \n \n \n ",
" Alternative; he starts digging away at the wall instead, same \n result. \n \n ARON (CONT'D) \n Fuck. It's hard as iron. \n Pause. \n \n "
],
[
" To make sure he hasn't drunk it all without knowing. He \n opens, tilts and holds as always and then ritualistically \n removes his contact lenses and washes them in his mouth. \n Suddenly a shiver tears across him like an attack dog. He",
" his world. The moment is broken by their offering him their \n water. It pours down his throat bypassing the swallow \n mechanism. \n \n \n \n CUT TO: \n \n \n \n \n",
" With a little shake he opens it and drinks it all gulping \n open throated. He shakes any last drop down and runs his \n tongue up into the neck. He screws the lid back on and",
" \n light. He can't go yet, every knot must be undone pulled open \n between his teeth and his hand. But he'll die if he can't \n have moisture. He tips the saved urine over himself and",
" ARON (CONT'D) \n So I have very little water. \n He can't help look in the camera towards those who know what \n that means in this place. \n \n ARON (CONT'D)",
" \n Midnight is celebrated with a tiny, careful, sip of the \n water. He holds it in his mouth. Puffing his cheeks, \n circulating the precious fluid around. \n \n \n \n CUT TO: \n",
" CUT TO: \n \n \n \n INT. CANYON. DAY. VIDEO FOOTAGE. \n \n \n \n It's tough looking at him. So long without water. The",
" CUT TO: \n \n \n \n \n \n VIDEO: \n \n ARON \n I have about one hundred and fifty \n millilitres of water left. That's",
" had a couple pretty good gulps of \n urine that I saved in my Camelbak. \n I sorta let it distill...it tastes \n like hell. So it's 70 hours since",
" He still holds the water in his mouth as he rewinds the top \n onto the bottle and reburies it in the sand to stop any \n evaporation. He moves to pop his contact lenses into his",
" back pack with equipment but hydrates through a gallon of \n water stored in an insulated three litre CamelBak hydration \n pouch which he sucks on without stopping. \n \n \n \n CUT TO: \n",
" \n \n INT. CANYON. NIGHT \n \n Aron ducks out of his head-bag and shakes his water bottle. \n Something he always does - to check the sound of real water.",
" \n There's a pause as they look at this refugee from a low \n budget horror movie. He hungrily eyes the water bottles \n attached to their waist bands. This gives them a way in to",
" \n \n \n \n REALTIME: \n We see his precious bottle of water. It looks back at him. \n Next to it is the Camelbak of his stored urine. \n \n CUT TO:",
" as much as he can into the bottle - \n \n \n \n ARON (CONT'D) \n No, no... more water. \n \n \n He caps the lid tightly and drops it into his pack. \n",
" licking and retching simultaneously he suddenly stops and \n listens. He can hear a shuffling, a zip-zip... The rope is \n uncoiling over the ledge. He put it down to drink. Picking up",
" dehydration is frightening. \n \n ARON \n No raven today. Everything's \n fucked. Sonja... if you still want \n me to play at your wedding... there's",
" out and blocks his view. He pulls the knife out and thinks. \n He's sweating and puts the tool on top of the chockstone. \n \n \n He immediately pulls up his water bottle and stares into it.",
" He looks at it and bites a `That's it. \n bit off. Masticates it on I'm on the \n and on... Chewing. urine diet \n now. Well, \n The chockstone it's no",
" Grabs his shirt and wipes sweat away and goes to drink. He \n hula-hoops out of his backpack to get access to the water, \n gulps down 3 full throatfulls - stops mid 4th and backwashes"
],
[
" And then he's back on the last action stretching the skin of \n his outer wrist tight and sawing the blade into the wall. \n It's a piece of gristle on a cutting board.",
" shadows. No success. The knife remains where it is. Maybe an \n ant races across it. \n \n \n Pause. \n The stick withdraws. \n \n \n \n \n \n \n",
" He lets go leaving the knife embedded. He swoons and stares \n at it. He slowly grasps the tool more firmly and wriggles it \n slightly, the blade connects with something hard. He taps the",
" He can't cut the tendon, no matter how hard he slices. But \n nothing will stop his addiction to surgery now. He folds in \n and swaps the blade for the pliers. He uses them to bite into",
" No cut, no blood, nothing. He switches to the short knife \n and saws viciously at the same point. \n \n ARON (CONT'D) \n Shit!",
" CUT TO: \n \n \n \n \n \n VIDEO: \n \n ARON \n The blades are too blunt even to \n break the skin. I guess that's the",
" There's a thick layer of dust across the top of the stone and \n his right arm. He tries to blow it away. He fails. Tired, \n it's too thick and he's too dehydrated. He picks up his knife",
" He takes out the multi-tool and switches to the long blade. \n looks at it. Then he presses the blade and draws it quickly \n across his forearm. Nothing. Repeats it harder. Nothing.",
" Like a mechanic he looks to analyse and then he works by feel \n only. \n \n \n His sweat falls on his knife mixing with the blood. \n He pulls muscle nearer the surface allowing his knife to",
" He picks a point and begins to chip away with the knife. \n He's back - energy, movement, purpose, action makes him \n happy. He occasionally stops to look at his left hand, \n swollen and puffy and constantly in need of flexing. He gets",
" headlamp placed above to let him see). The stick enters from \n top of screen and nudges the knife in a semi circle. It's a \n bit Punch and Judy if it wasn't so fucking serious. Huge",
" Sawing downwards he makes as large a hole as he can without \n tearing any of the noodle like veins. He puts the knife in \n his teeth and pokes his left forefinger and thumb inside his \n right arm.",
" pick dust over everything, and bouncing the knife off the \n rock. Once again, gravity takes over. The knife hits his \n shorts and as he moves to grab it, he misses it and knocks it",
" Looking down onto the ground, around his leg, his toes \n holding the stick like a chopstick lift the knife out and up \n tremulously, breathlessly, towards his good arm. He picks it \n off the stick gently. Big smile. First one. \n",
" the insects. \n \n \n \n CUT TO: \n \n \n \n INT. CANYON. MORNING. \n \n \n \n The knife stares back. \n",
" the second prod the blade punctures the epidermis like soft \n butter. There is a clear hiss as gases escape. The stench is \n death. He looks at the gangrene attached to him, poisoning \n him. \n",
" angles as he almost taps the side of his eye socket. \n Suddenly, he hammers down with ten times more force onto the \n handle of the knife, the rock explodes in his hand, showering",
" He is absolutely still. Almost absent. Flies buzz around \n him. Indeterminate time passes. \n \n CUT TO: \n \n 39. \n \n \n \n \n",
" tick,tick,tick. He changes the blade, prising suddenly at a \n section of the rock with his file. It bites and a dime size \n shred chip of rock arcs through the night light. He catches \n it perfectly on his right elbow.",
" knife down and feels it knocking on the radius of his upper \n forearm bone. \n He puts his ear close and we can hear the little thocking \n sound. \n \n \n \n ARON"
],
[
" churning slush and debris and malevolent water. The light \n flicks on. He can see his arm and the rock. Suddenly the \n water lifts the chockstone and his arm releases. He pulls it",
" \n \n CUT TO: \n \n \n \n INT. CANYON. ON CHOCKSTONE. DAY. \n \n But it follows him down, somehow he's released its latent \n energy.",
" \n \n INT. CANYON. DAY. \n \n \n \n He's interrupted by a sudden realization as he looks first \n one way up the canyon and then the other. He looks up at the",
" \n He's moving towards a final chockstone below him jammed in \n the gap. You can see the way he's thinking: it's about the \n size of a bus wheel and used as a platform will help him",
" At the southwest edge of Green River, Aron Ralston drives \n under the interstate into a landscape of obscurity. He looks \n to his right and left, not a single light perforates the \n absolute blackness of the San Rafael Desert.",
" Alternative; he starts digging away at the wall instead, same \n result. \n \n ARON (CONT'D) \n Fuck. It's hard as iron. \n Pause. \n \n ",
" waist. He detaches it and drops down again, almost able to \n squat. His trapped arm is the only thing preventing that. \n His face is suddenly open. \n \n ",
" Hang in there Aron. \n At they get closer he summons a surge of energy from \n somewhere. \n \n ARON (CONT'D) \n My name is Aron Ralston. I was",
" leg but he can't twist to get anywhere near it. He tries to \n pull the canyon wall off balance to get closer. No chance. \n \n 24. \n \n \n \n \n \n ARON",
" He sees, for the first time in his new life, green. The deep \n green of a healthy 50ft tree below him and to his left, and \n he knows. He looks for the bolts drilled into the rock, and",
" But on he goes, 100 ft of the rope trailing behind him. As \n we follow its progress snaking after him we see specs of \n blood on the lower walls. \n \n ",
" ropes; creating footholds and bouncing in them with his foot, \n his knees, his ass. \n \n \n \n \n \n \n Finally he stops. He looks down. For a moment it's as though",
" CUT TO: \n \n \n \n INT. CANYON. DAY. WIDE. \n \n We can see Aron in the distance pulling at his arm. Without",
" \n light. He can't go yet, every knot must be undone pulled open \n between his teeth and his hand. But he'll die if he can't \n have moisture. He tips the saved urine over himself and",
" too close and the stone judders towards him, pulled by the \n torque of his weight on his side, rotating. \n Instantly and instinctively he lets go and drops. Like he's \n trying to detach a mine dragging him to the sea floor.",
" \n \n INT. ROPE BAG. NIGHT \n \n For Aron the volume of his and their shouting is deafening \n and the first human sounds he has heard for days. He",
" recycling his overnight insulation gear into a crude lift and \n pulley. \n Obsessive, inventive, analytical, he constantly adjusts and \n adds and subtracts, and cannibalizes. Undoing and tieing",
" CUT TO: \n \n \n \n REALTIME: \n \n \n We see a more objective view of his morning's activities as \n he describes them. We see him below us as the raven flies",
" NO, NO! \n \n CUT TO: \n \n \n \n INT. CANYON FLOOR. DAY. \n \n The knife is visible in the crack below and behind his right",
" CUT TO: \n \n \n \n INT. CANYON. DAY. REALTIME. \n \n He hears voices. \n \n 32. \n \n \n \n \n"
],
[
" With a little shake he opens it and drinks it all gulping \n open throated. He shakes any last drop down and runs his \n tongue up into the neck. He screws the lid back on and",
" To make sure he hasn't drunk it all without knowing. He \n opens, tilts and holds as always and then ritualistically \n removes his contact lenses and washes them in his mouth. \n Suddenly a shiver tears across him like an attack dog. He",
" licking and retching simultaneously he suddenly stops and \n listens. He can hear a shuffling, a zip-zip... The rope is \n uncoiling over the ledge. He put it down to drink. Picking up",
" bottle as it releases, finally and he lifts it, slowly, \n almost ceremonially. Controlling the tilt, a half-mouthful \n of water slides onto his tongue. He tilts the bottle back",
" Grabs his shirt and wipes sweat away and goes to drink. He \n hula-hoops out of his backpack to get access to the water, \n gulps down 3 full throatfulls - stops mid 4th and backwashes",
" churning slush and debris and malevolent water. The light \n flicks on. He can see his arm and the rock. Suddenly the \n water lifts the chockstone and his arm releases. He pulls it",
" massive tree logs jammed at strange angles high above him and \n silhouetted against the blue cloudless sky, he drinks deeply \n from his water bottle. \n \n \n \n CUT TO: \n \n \n",
" But on he goes, 100 ft of the rope trailing behind him. As \n we follow its progress snaking after him we see specs of \n blood on the lower walls. \n \n ",
" impossibly dry and rasping and then, as simply as this all \n began, his shoulders open and he's free...... \n He staggers back, one, two, three steps away from his arm... \n \n ",
" At the southwest edge of Green River, Aron Ralston drives \n under the interstate into a landscape of obscurity. He looks \n to his right and left, not a single light perforates the \n absolute blackness of the San Rafael Desert.",
" his world. The moment is broken by their offering him their \n water. It pours down his throat bypassing the swallow \n mechanism. \n \n \n \n CUT TO: \n \n \n \n \n",
" I hate this fucking mess. \n \n \n Finally he stops but his fingers are paralyzed, fused rigid \n around the rock. He pulls them off with his teeth and the \n stone drops to his feet. \n \n ",
" back pack with equipment but hydrates through a gallon of \n water stored in an insulated three litre CamelBak hydration \n pouch which he sucks on without stopping. \n \n \n \n CUT TO: \n",
" \n light. He can't go yet, every knot must be undone pulled open \n between his teeth and his hand. But he'll die if he can't \n have moisture. He tips the saved urine over himself and",
" INT. CANYON. NIGHT. \n \n \n \n He emerges from the bag. \n 21.05 and looks at the bottle. He takes the Camelbak and \n saying... \n \n \n",
" \n \n CUT TO: \n \n \n \n INT. CANYON. ON CHOCKSTONE. DAY. \n \n But it follows him down, somehow he's released its latent \n energy.",
" possessions into his backpack. Simultaneously he opens his \n mouth to gather any drops he can into his parched throat. \n \n \n \n CUT TO: \n \n \n \n \n",
" out and blocks his view. He pulls the knife out and thinks. \n He's sweating and puts the tool on top of the chockstone. \n \n \n He immediately pulls up his water bottle and stares into it.",
" He looks at it and bites a `That's it. \n bit off. Masticates it on I'm on the \n and on... Chewing. urine diet \n now. Well, \n The chockstone it's no",
" He sees, for the first time in his new life, green. The deep \n green of a healthy 50ft tree below him and to his left, and \n he knows. He looks for the bolts drilled into the rock, and"
],
[
" At the southwest edge of Green River, Aron Ralston drives \n under the interstate into a landscape of obscurity. He looks \n to his right and left, not a single light perforates the \n absolute blackness of the San Rafael Desert.",
" \n \n INT. CANYON. PRE DAWN. \n \n ... His eyes open and he stands unsteadily rubbing at his \n legs, the lack of circulation has forced him up. Doesn't",
" He picks a point and begins to chip away with the knife. \n He's back - energy, movement, purpose, action makes him \n happy. He occasionally stops to look at his left hand, \n swollen and puffy and constantly in need of flexing. He gets",
" But on he goes, 100 ft of the rope trailing behind him. As \n we follow its progress snaking after him we see specs of \n blood on the lower walls. \n \n ",
" Hang in there Aron. \n At they get closer he summons a surge of energy from \n somewhere. \n \n ARON (CONT'D) \n My name is Aron Ralston. I was",
" waist. He detaches it and drops down again, almost able to \n squat. His trapped arm is the only thing preventing that. \n His face is suddenly open. \n \n ",
" There's not a lot of blood. But he keeps working and working. \n Once the blood increases he puts the knife down on top of the \n rock and swiftly ties his tourniquet. \n \n ",
" That's all your miracle days used \n up kid. You need to rest. You can \n stand everyone a beer later. \n Aron is greeted by medics. Needles. Care. Machines. Tubes. \n \n ARON",
" did you get your hand trapped by a \n fucking boulder? Its crushed, it's \n fucking dying man! \n He reaches up and touches the trail of blood, hair and skin \n left on the canyon wall as the rock pushed him to where he",
" \n Boy, his arm and his legs are aching now. \n \n CUT TO: \n \n \n \n INT. ABOVE ARON, LOOKING DOWN INTO CANYON. NIGHT. \n \n",
" INT/EXT. VARIOUS. CANYON AND BEYOND. DAY. \n \n ... suddenly we're moving, retracing his journey at \n increasing and eventually staggering speed.",
" \n \n INT. ROPE BAG. NIGHT \n \n For Aron the volume of his and their shouting is deafening \n and the first human sounds he has heard for days. He",
" churning slush and debris and malevolent water. The light \n flicks on. He can see his arm and the rock. Suddenly the \n water lifts the chockstone and his arm releases. He pulls it",
" \n \n 11:16 \n \n CUT TO: \n \n \n \n INT. CANYON. DAY. \n \n He returns to the knife. Finally all that remains inside is a",
" impossibly dry and rasping and then, as simply as this all \n began, his shoulders open and he's free...... \n He staggers back, one, two, three steps away from his arm... \n \n ",
" happened as everything stops. \n \n CUT TO: \n \n \n \n \n \n INT. CANYON FLOOR. DAY. \n",
" obstructed by the boulder and stopped from getting to Aron) \n ...until it breaks. He shudders in shock and drops everything \n for minutes. His head lolls forward dripping. His mind \n swarming with trauma.",
" INT. UNDERWATER. DAY. \n \n \n \n Underwater. A figure dives in, pulling strong breast strokes \n down and towards us. Its Aron, fully recovered after surgery.",
" that cried \"Help, I need help\". \n Monique and I immediately realized \n that this had to be the missing \n person. \n \n (MORE) \n \n 73. \n \n \n",
" recycling his overnight insulation gear into a crude lift and \n pulley. \n Obsessive, inventive, analytical, he constantly adjusts and \n adds and subtracts, and cannibalizes. Undoing and tieing"
],
[
" At the southwest edge of Green River, Aron Ralston drives \n under the interstate into a landscape of obscurity. He looks \n to his right and left, not a single light perforates the \n absolute blackness of the San Rafael Desert.",
" Aron Ralston. My parents are Donna \n and Larry Ralston of Englewood, \n Colorado. Whoever finds this, \n please make an attempt to get this \n to them. Be sure of it. I would \n appreciate it.",
" \n \n EXT. BLUE JOHN CANYON. SHORT SLOT ENTRY. DAY. \n \n Aron keeps descending, the canyon walls growing taller and \n closer, into the narrowing slot canyon.",
" slit above him. Blue, blue sky. \n \n \n \n CUT TO: \n \n \n \n INT. CANYON. DAY. \n \n \n \n \n ARON",
" He glides to a flat spot near the sign board welcoming \n visitors to the Horseshoe Canyon quadrant of Canyonlands \n National Park. \n He whips into the back of the truck and flings everything out",
" ARON (CONT'D) \n \n HELP! HELLO! \n \n CUT TO: \n \n INT/EXT. PULL OUT OF CANYON. DAY. \n",
" \n \n ARON (CONT'D) \n I'll get this. Leave no trace. \n \n CUT TO: \n \n \n \n EXT. BLUE JOHN CANYON. DAY.",
" \n \n ARON \n It's three-oh-five on Sunday. This \n marks my twenty-four-hour mark of \n being stuck in Blue John Canyon \n above the Big Drop. My name is",
" EXT. BLUE JOHN CANYON. DAY. \n \n \n ARON \n Easy Aron, easy now. \n He keeps moving, descending still, but a little more",
" \n \n INT. CANYON. DAY. ARON'S POV BACK UP THE CANYON. \n \n The noise is there still. Again he screams and screams. \n \n \n",
" INT. CANYON. DAY. VIDEO FOOTAGE. \n \n \n ARON \n What you're looking at there is my \n arm, going into the rock... and \n there it is, stuck. It's been",
" CUT TO: \n \n 19. \n \n \n \n \n \n INT. CANYON. TIGHTER ON ARON. DAY. \n",
" \n \n EXT. MAIN BLUE JOHN CANYON. DAY. \n \n \n \n Aron alone ... they are gone ... he picks up the pace as he",
" CUT TO: \n \n \n \n INT. CANYON. DAY. WIDE. \n \n We can see Aron in the distance pulling at his arm. Without",
" Cut inside as Aron Ralston, 27 cuts off the freeway. \n \n \n \n TRIPTYCH. \n \n \n",
" INT. CANYON. DAY. SINGLE SCREEN. \n \n We tilt down the wall (still reflected on inside of bag) to \n see Aron completing his obit. Scratched on wall of canyon:",
" We see a section of the canyon and the tiny figure of Aron \n moving within it. We track in and elide into a graphic view \n of him chimneying his way along the canyon now only 3 ft wide",
" \n \n INT. CANYON. DAY. \n \n He looks at his obituary on the wall. ARON. OCT 75 => APR 03. \n \n RIP. \n \n ARON",
" He watches the chockstone follow him - not looking where he's \n going. \n \n CUT TO: \n \n \n \n \n \n INT. CANYON. ARON'S POV. DAY.",
" INT. CANYON. DAY. \n \n He mutters... \n \n ARON \n Ok Aron, here we go. You're in it \n now. \n \n "
],
[
" MEGAN (CONT'D) \n Kristi, I think this is our way \n back. \n \n ARON \n Why don't you come with me to the \n Big Drop Rappel? I can give you a",
" \n \n EXT. CANYON. GULLEY. \n \n They're negotiating a steep gulley. Aron is 1/2 way down, \n Megan at the top, Kristi on her way down to him.",
" lift back to your car. \n \n KRISTI \n How far is it? \n He shows them on the map. \n \n ARON \n About another 8 miles or so, I \n think. \n",
" Megan. \n \n ARON \n Nice to meet you. What a day. \n \n KRISTI \n It's beautiful. \n \n ARON \n Did you bike or come straight from",
" 9. \n \n \n \n \n \n MEGAN \n Are you ok? ARON! \n \n KRISTI \n Of course he's ok. Listen to him.",
" Got to be there, Meg. \n \n CUT TO: \n \n \n \n INT. CAVE. DAY. \n \n From the pool below with Aron we see Kristi in her underwear",
" ARON \n Yeah, I know, I mean there's no one \n around for 50 miles. \n \n \n \n KRISTI \n ... and suddenly there's a guy",
" Aron fills the cathedral dome with his version of a Phish \n song at the top of his voice. Kristi strips to her underwear \n and traverses away from Megan. \n \n KRISTI (CONT'D)",
" KRISTI \n So have you got a girlfriend, Aron? \n \n ARON \n Well, there's not really anyone \n special. \n \n MEGAN",
" MEGAN \n You don't climb at night, do you? \n \n ARON \n No, it's great for seeing snakes in \n hand holds. Can I get a picture \n then?",
" Lots of cheek kissing and his last picture of them... \n \n 14. \n \n \n \n \n \n KRISTI \n Come on Aron, hike out with us -",
" \n \n ARON (CONT'D) \n ... there aren't any more. \n We spin and watch him fall into the most exquisite emerald \n pool 60 feet below. \n \n KRISTI",
" ARON (CONT'D) \n Wasn't expecting to see anyone in \n the canyon today. \n \n MEGAN \n Yeah, you surprised us, sneaking up \n like that. \n \n ",
" hooks through the little ring at the end of the knife. It \n lifts. \n \n CUT TO: \n \n \n \n INT. ARON IN CANYON. DAY. \n",
" ARON (CONT'D) \n \n HELP! HELLO! \n \n CUT TO: \n \n INT/EXT. PULL OUT OF CANYON. DAY. \n",
" video on the rock, as he has deliberately turned the screen \n away from himself. \n \n CUT TO: \n \n \n \n VIDEO: \n \n \n \n ARON",
" INT. CANYON. NIGHT. \n \n Aron very still, listens to their screams. He looks at his \n knife dangling from his wrist by the shoelace. \n \n \n \n CUT TO:",
" Oh whatever, you love it. \n \n KRISTI \n Shhh! \n \n \n Aron then quickly slips to the bottom. Megan is way high, \n Kristi half way. \n",
" arriving in a haze of dust, holding out his hand for the \n shake. Big smile. \n \n KRISTI \n (looking at Megan) \n Sure, I'm Kristi. \n \n MEGAN",
" just 30 yards down the canyon, 2 fellow hikers. He looks \n around. All of them in the middle of nowhere it seems. \n \n CUT TO: \n \n \n"
],
[
" obstructed by the boulder and stopped from getting to Aron) \n ...until it breaks. He shudders in shock and drops everything \n for minutes. His head lolls forward dripping. His mind \n swarming with trauma.",
" The rock smashes the right hand and wrist against the wall \n and drags it down the remaining distance. Like a cheese \n grater it tears the skin from the back of the hand and the \n forearm, decorating the wall. Aron is powerless to stop its",
" He pushes and pushes with his left hand under the boulder to \n create maximum downward force on his right arm. Hard, harder, \n HARDER. It looks insane, unnatural and painful, but he says \n nothing. \n \n ",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" Alternative; he starts digging away at the wall instead, same \n result. \n \n ARON (CONT'D) \n Fuck. It's hard as iron. \n Pause. \n \n ",
" CUT TO: \n \n \n \n INT. CANYON. DAY. WIDE. \n \n We can see Aron in the distance pulling at his arm. Without",
" \n Air exploding out of his lungs. And then a quiet hollow \n sound of the boulder shifting fractionally. A howl of \n phenomenal pain - \n \n \n \n ARON (CONT'D) \n",
" leg but he can't twist to get anywhere near it. He tries to \n pull the canyon wall off balance to get closer. No chance. \n \n 24. \n \n \n \n \n \n ARON",
" churning slush and debris and malevolent water. The light \n flicks on. He can see his arm and the rock. Suddenly the \n water lifts the chockstone and his arm releases. He pulls it",
" \n Pulls and pulls, yanks until his shoulder will dislocate, but \n nothing moves. Sweat, anxiety flaring, hot pain. \n \n ARON (CONT'D) \n",
" \n \n ARON \n It's three-oh-five on Sunday. This \n marks my twenty-four-hour mark of \n being stuck in Blue John Canyon \n above the Big Drop. My name is",
" ARON (CONT'D) \n Come on, move, dammit. \n \n \n Nothing. He stops. And stares directly at the knife below \n him. Absolute stillness. Nothing moves. Not him. Not even",
" I hate this cold slab pressing me \n against this damp fucking wall. \n Smash, Smash, Smash. \n \n \n \n ARON (CONT'D) \n I know there's water near coz of",
" too close and the stone judders towards him, pulled by the \n torque of his weight on his side, rotating. \n Instantly and instinctively he lets go and drops. Like he's \n trying to detach a mine dragging him to the sea floor.",
" His arms rise to protect his head but his eyes remain open \n and through his fingers we see the next 3 seconds. The rock's \n face and his. \n \n \n It grabs his left hand and flings it against the left wall.",
" Everything now is forcing us towards the boulder, cramping us \n in with him impossibly close, he's sweating and heaving, his \n vision blurring with tears, his contacts failing, his breath",
" \n \n ARON \n Cool. \n He picks it off his arm and places it on top of the rock next \n to where he's working. It's a grain of sand on the seashore \n but it's something.",
" ARON (QUIET, CLEAR) (CONT'D) \n Get rid of it Aron, it's dead, it's \n garbage. \n He drops to his haunches but the webbing stops him at his",
" \n \n INT. ROPE BAG. BLACK. \n \n Breathing close but shallow and rasping. \n \n ARON \n God, it's Aron again. I still need",
" He pulls it away as the rock ricochets against the canyon and \n careers towards his right arm which he raises, to compensate \n for withdrawing the left, and to protect his head. \n \n "
],
[
" ARON (CONT'D) \n So I have very little water. \n He can't help look in the camera towards those who know what \n that means in this place. \n \n ARON (CONT'D)",
" ARON (CONT'D) \n Relax. Stop. Come on. \n He breathes and breathes, taking stock for the 1st time. \n \n \n \n CUT TO: \n \n 21.",
" \n \n ARON \n Cool. \n He picks it off his arm and places it on top of the rock next \n to where he's working. It's a grain of sand on the seashore \n but it's something.",
" ARON \n Not good. \n He blows the whole lot into our face with a mighty gust. \n \n ARON (CONT'D) \n When in a hole....",
" \n \n \n \n ARON \n \n (SCREAMING) \n \n HELP!!! HELP!!!! OVER HERE!!! \n \n HEEELLLPP!!!",
" ARON \n (at his most instructor- \n ish, talking all the time \n as he makes his way down) \n You'll have to chimney down a \n little ways - like here, watch -",
" Aron leaves work: at no point do we see Aron. He's there, \n you sense him in reflective surfaces, his arms, particularly \n his right one and his feet occasionally come into shot. It's",
" But no rest. \n \n CUT TO: \n \n \n \n \n \n INT. ARON'S TRUCK. DAY. \n",
" \n \n ARON \n Sweet. \n \n CUT TO: \n \n 25. \n \n \n \n \n",
" ARON \n See you later... \n ... swallows quickly 2 'spoons' of urine without disturbing \n the sediment. Tangy and bitter, the saltiness makes him \n wince. \n",
" He takes long blinks and seems to avoid looking at himself \n though the screen is facing him. He looks alarmed and wide \n eyed, startled, in contrast to his slow slurred delivery. \n \n ARON (CONT'D)",
" ARON (CONT'D) \n Come on, move, dammit. \n \n \n Nothing. He stops. And stares directly at the knife below \n him. Absolute stillness. Nothing moves. Not him. Not even",
" ARON (CONT'D) \n \n HELP! HELLO! \n \n CUT TO: \n \n INT/EXT. PULL OUT OF CANYON. DAY. \n",
" CUT TO: \n \n \n \n \n \n INT. ARON'S TRUCK. NIGHT. \n \n \n ",
" can't believe he's done it. \n \n ARON (CONT'D) \n Shit!!! \n \n CUT TO: \n \n \n \n \n",
" video on the rock, as he has deliberately turned the screen \n away from himself. \n \n CUT TO: \n \n \n \n VIDEO: \n \n \n \n ARON",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" Eventually Aron's truck is now alone on an interstate road. \n \n 2. \n \n \n \n \n \n INT. ARON'S TRUCK. NIGHT. \n",
" \n \n INT. ROPE BAG. NIGHT \n \n For Aron the volume of his and their shouting is deafening \n and the first human sounds he has heard for days. He",
" CUT TO: \n \n 19. \n \n \n \n \n \n INT. CANYON. TIGHTER ON ARON. DAY. \n"
],
[
" obstructed by the boulder and stopped from getting to Aron) \n ...until it breaks. He shudders in shock and drops everything \n for minutes. His head lolls forward dripping. His mind \n swarming with trauma.",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" CUT TO: \n \n \n \n INT. CANYON. DAY. WIDE. \n \n We can see Aron in the distance pulling at his arm. Without",
" \n \n ARON \n Cool. \n He picks it off his arm and places it on top of the rock next \n to where he's working. It's a grain of sand on the seashore \n but it's something.",
" \n Air exploding out of his lungs. And then a quiet hollow \n sound of the boulder shifting fractionally. A howl of \n phenomenal pain - \n \n \n \n ARON (CONT'D) \n",
" He pushes and pushes with his left hand under the boulder to \n create maximum downward force on his right arm. Hard, harder, \n HARDER. It looks insane, unnatural and painful, but he says \n nothing. \n \n ",
" churning slush and debris and malevolent water. The light \n flicks on. He can see his arm and the rock. Suddenly the \n water lifts the chockstone and his arm releases. He pulls it",
" The rock smashes the right hand and wrist against the wall \n and drags it down the remaining distance. Like a cheese \n grater it tears the skin from the back of the hand and the \n forearm, decorating the wall. Aron is powerless to stop its",
" CUT TO: \n \n \n \n \n \n VIDEO: \n \n ARON \n I keep chipping at the rock but \n just to generate warmth and give me",
" ARON (QUIET, CLEAR) (CONT'D) \n Get rid of it Aron, it's dead, it's \n garbage. \n He drops to his haunches but the webbing stops him at his",
" \n \n ARON \n It's three-oh-five on Sunday. This \n marks my twenty-four-hour mark of \n being stuck in Blue John Canyon \n above the Big Drop. My name is",
" A flashing, strobe-ing light - Aron's head-lamp bouncing back \n and forth off the canyon walls - but also, as he continues to \n chip away... \n \n \n",
" ARON (CONT'D) \n Come on, move, dammit. \n \n \n Nothing. He stops. And stares directly at the knife below \n him. Absolute stillness. Nothing moves. Not him. Not even",
" Alternative; he starts digging away at the wall instead, same \n result. \n \n ARON (CONT'D) \n Fuck. It's hard as iron. \n Pause. \n \n ",
" too close and the stone judders towards him, pulled by the \n torque of his weight on his side, rotating. \n Instantly and instinctively he lets go and drops. Like he's \n trying to detach a mine dragging him to the sea floor.",
" We see a section of the canyon and the tiny figure of Aron \n moving within it. We track in and elide into a graphic view \n of him chimneying his way along the canyon now only 3 ft wide",
" I hate this fucking mess. \n \n \n Finally he stops but his fingers are paralyzed, fused rigid \n around the rock. He pulls them off with his teeth and the \n stone drops to his feet. \n \n ",
" \n \n INT. ROPE BAG. BLACK. \n \n Breathing close but shallow and rasping. \n \n ARON \n God, it's Aron again. I still need",
" cushion his palm and picks up the black rounded hammer rock \n again. Ignoring the pain he starts hammering at the rock \n surface. SMASH. MAD NOW. \n \n ARON \n I hate this rock.",
" Everything now is forcing us towards the boulder, cramping us \n in with him impossibly close, he's sweating and heaving, his \n vision blurring with tears, his contacts failing, his breath"
],
[
" CUT TO: \n \n \n \n INT. CANYON. DAY. WIDE. \n \n We can see Aron in the distance pulling at his arm. Without",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" will be probably impossible with \n one hand... between the blood loss \n and the dehydration I think I would \n die if I cut off my arm. \n \n ARON (CONT'D) \n Which means I'm waiting for someone",
" ARON (CONT'D) \n Come on, move, dammit. \n \n \n Nothing. He stops. And stares directly at the knife below \n him. Absolute stillness. Nothing moves. Not him. Not even",
" ARON (QUIET, CLEAR) (CONT'D) \n Get rid of it Aron, it's dead, it's \n garbage. \n He drops to his haunches but the webbing stops him at his",
" obstructed by the boulder and stopped from getting to Aron) \n ...until it breaks. He shudders in shock and drops everything \n for minutes. His head lolls forward dripping. His mind \n swarming with trauma.",
" No cut, no blood, nothing. He switches to the short knife \n and saws viciously at the same point. \n \n ARON (CONT'D) \n Shit!",
" \n \n INT. ROPE BAG. BLACK. \n \n Breathing close but shallow and rasping. \n \n ARON \n God, it's Aron again. I still need",
" Alternative; he starts digging away at the wall instead, same \n result. \n \n ARON (CONT'D) \n Fuck. It's hard as iron. \n Pause. \n \n ",
" The rock smashes the right hand and wrist against the wall \n and drags it down the remaining distance. Like a cheese \n grater it tears the skin from the back of the hand and the \n forearm, decorating the wall. Aron is powerless to stop its",
" He can't cut the tendon, no matter how hard he slices. But \n nothing will stop his addiction to surgery now. He folds in \n and swaps the blade for the pliers. He uses them to bite into",
" \n Pulls and pulls, yanks until his shoulder will dislocate, but \n nothing moves. Sweat, anxiety flaring, hot pain. \n \n ARON (CONT'D) \n",
" leg but he can't twist to get anywhere near it. He tries to \n pull the canyon wall off balance to get closer. No chance. \n \n 24. \n \n \n \n \n \n ARON",
" INT. CANYON. NIGHT. \n \n Aron very still, listens to their screams. He looks at his \n knife dangling from his wrist by the shoelace. \n \n \n \n CUT TO:",
" \n \n ARON \n It's three-oh-five on Sunday. This \n marks my twenty-four-hour mark of \n being stuck in Blue John Canyon \n above the Big Drop. My name is",
" CUT TO: \n \n \n \n \n \n INT. CANYON. DAY. C/U TIGHT ON ARON. \n \n Just as he dangles there's a scraping sound, small but close,",
" He releases the tourniquet and as the blood flow returns a \n series of angry red lines establish themselves where he was \n sawing. He looks at them. \n \n ARON (CONT'D) \n Pathetic, Aron, pathetic.",
" ARON (CONT'D) \n \n HELP! HELLO! \n \n CUT TO: \n \n INT/EXT. PULL OUT OF CANYON. DAY. \n",
" can't believe he's done it. \n \n ARON (CONT'D) \n Shit!!! \n \n CUT TO: \n \n \n \n \n",
" \n \n ARON \n Cool. \n He picks it off his arm and places it on top of the rock next \n to where he's working. It's a grain of sand on the seashore \n but it's something."
],
[
" churning slush and debris and malevolent water. The light \n flicks on. He can see his arm and the rock. Suddenly the \n water lifts the chockstone and his arm releases. He pulls it",
" There's not a lot of blood. But he keeps working and working. \n Once the blood increases he puts the knife down on top of the \n rock and swiftly ties his tourniquet. \n \n ",
" The rock smashes the right hand and wrist against the wall \n and drags it down the remaining distance. Like a cheese \n grater it tears the skin from the back of the hand and the \n forearm, decorating the wall. Aron is powerless to stop its",
" CUT TO: \n \n \n \n INT. CANYON. DAY. WIDE. \n \n We can see Aron in the distance pulling at his arm. Without",
" Sawing downwards he makes as large a hole as he can without \n tearing any of the noodle like veins. He puts the knife in \n his teeth and pokes his left forefinger and thumb inside his \n right arm.",
" did you get your hand trapped by a \n fucking boulder? Its crushed, it's \n fucking dying man! \n He reaches up and touches the trail of blood, hair and skin \n left on the canyon wall as the rock pushed him to where he",
" At the southwest edge of Green River, Aron Ralston drives \n under the interstate into a landscape of obscurity. He looks \n to his right and left, not a single light perforates the \n absolute blackness of the San Rafael Desert.",
" waist. He detaches it and drops down again, almost able to \n squat. His trapped arm is the only thing preventing that. \n His face is suddenly open. \n \n ",
" INT. CANYON. DAY. VIDEO FOOTAGE. \n \n \n ARON \n What you're looking at there is my \n arm, going into the rock... and \n there it is, stuck. It's been",
" He pushes and pushes with his left hand under the boulder to \n create maximum downward force on his right arm. Hard, harder, \n HARDER. It looks insane, unnatural and painful, but he says \n nothing. \n \n ",
" impossibly dry and rasping and then, as simply as this all \n began, his shoulders open and he's free...... \n He staggers back, one, two, three steps away from his arm... \n \n ",
" will be probably impossible with \n one hand... between the blood loss \n and the dehydration I think I would \n die if I cut off my arm. \n \n ARON (CONT'D) \n Which means I'm waiting for someone",
" Aron Ralston. My parents are Donna \n and Larry Ralston of Englewood, \n Colorado. Whoever finds this, \n please make an attempt to get this \n to them. Be sure of it. I would \n appreciate it.",
" Something's not right. It's a difficult overhang and he's \n awkward and vulnerable with only one useful arm. His bad arm \n catches horribly on the lip of the ledge. Suddenly he starts",
" already rotated down onto my arm. \n \n \n PAUSE. I can't feel anything. \n PAUSE. So I made a great \n tourniquet and I tried to cut it \n off. \n",
" Hang in there Aron. \n At they get closer he summons a surge of energy from \n somewhere. \n \n ARON (CONT'D) \n My name is Aron Ralston. I was",
" spot just above the rock's grip on his right wrist, he \n hesitates and then violently plunges the blade into his arm \n up to the hilt. \n \n ",
" You're gonna have to cut your arm \n off. \n \n \n As if to answer that idea we... \n \n CUT TO: \n \n \n \n \n",
" Cut inside as Aron Ralston, 27 cuts off the freeway. \n \n \n \n TRIPTYCH. \n \n \n",
" He lets go leaving the knife embedded. He swoons and stares \n at it. He slowly grasps the tool more firmly and wriggles it \n slightly, the blade connects with something hard. He taps the"
],
[
" that cried \"Help, I need help\". \n Monique and I immediately realized \n that this had to be the missing \n person. \n \n (MORE) \n \n 73. \n \n \n",
" At the southwest edge of Green River, Aron Ralston drives \n under the interstate into a landscape of obscurity. He looks \n to his right and left, not a single light perforates the \n absolute blackness of the San Rafael Desert.",
" Aron Ralston. My parents are Donna \n and Larry Ralston of Englewood, \n Colorado. Whoever finds this, \n please make an attempt to get this \n to them. Be sure of it. I would \n appreciate it.",
" He puts the camera down and listens. People descending at \n the S log! He can hear them. He screams and screams and \n screams and then he stops. He listens again. \n \n CUT TO: \n \n ",
" still there unchanged. He knows now it's not people. They \n would have heard him. \n \n \n \n CUT TO: \n \n \n",
" \n \n INT. ROPE BAG. NIGHT \n \n For Aron the volume of his and their shouting is deafening \n and the first human sounds he has heard for days. He",
" CUT TO: \n \n \n \n INT. CANYON. DAY. REALTIME. \n \n He hears voices. \n \n 32. \n \n \n \n \n",
" But on he goes, 100 ft of the rope trailing behind him. As \n we follow its progress snaking after him we see specs of \n blood on the lower walls. \n \n ",
" Hang in there Aron. \n At they get closer he summons a surge of energy from \n somewhere. \n \n ARON (CONT'D) \n My name is Aron Ralston. I was",
" called. Call him. We're going. \n See you next week. Oh, and Rana \n called. \n \n CUT TO: \n \n \n \n INT. CANYON FLOOR. PRE DAWN.",
" \n \n ARON \n It's three-oh-five on Sunday. This \n marks my twenty-four-hour mark of \n being stuck in Blue John Canyon \n above the Big Drop. My name is",
" INT. CANYON. NIGHT. \n \n Aron very still, listens to their screams. He looks at his \n knife dangling from his wrist by the shoelace. \n \n \n \n CUT TO:",
" churning slush and debris and malevolent water. The light \n flicks on. He can see his arm and the rock. Suddenly the \n water lifts the chockstone and his arm releases. He pulls it",
" calls for help. \n \n CUT TO: \n \n \n \n \n \n EXT. ARON'S TRUCK. DAY. \n",
" INT. BENEATH CANYON FLOOR. \n \n We're on a level with the knife in the little hole beneath \n his feet. An enormous overhead light switches on (Aron's",
" including Mark V.E. mill around their 4 x 4s. There are \n multiple lights in the distance but it's unclear what it \n might be. The vehicles' own headlights illuminate Rana, a",
" CUT TO: \n \n \n \n INT. CANYON. DAY. VIDEO FOOTAGE. \n \n ... re-runs the sound of him screaming for help. \n \n 33. \n",
" a report, a missing persons report. \n Which means noon tomorrow it's \n official that I'm gone. I do still \n have the tiniest bit of water left. \n Well, actually, I've resorted...I've",
" CUT TO: \n \n \n \n \n \n INT. CANYON. DAY. C/U TIGHT ON ARON. \n \n Just as he dangles there's a scraping sound, small but close,",
" ... to see the slot canyon, back and back and back, nothing \n more than a dry crack in the surface of this massive land. \n Gradually his cries for help become inaudible. \n \n CUT TO: \n \n "
],
[
" obstructed by the boulder and stopped from getting to Aron) \n ...until it breaks. He shudders in shock and drops everything \n for minutes. His head lolls forward dripping. His mind \n swarming with trauma.",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" EXT. HIGH ABOVE ARON. BLUE JOHN CANYON. DAY. \n \n \n \n His sense of momentum is established again and it's clear",
" \n \n ARON \n Cool. \n He picks it off his arm and places it on top of the rock next \n to where he's working. It's a grain of sand on the seashore \n but it's something.",
" A flashing, strobe-ing light - Aron's head-lamp bouncing back \n and forth off the canyon walls - but also, as he continues to \n chip away... \n \n \n",
" CUT TO: \n \n \n \n INT. CANYON. DAY. WIDE. \n \n We can see Aron in the distance pulling at his arm. Without",
" S-shaped log, sand bleached and wind dried it looks like a \n massive reptile making its way down the canyon. Beyond it, \n Aron can see his route down disappearing into narrowing \n darkness. \n",
" We see a section of the canyon and the tiny figure of Aron \n moving within it. We track in and elide into a graphic view \n of him chimneying his way along the canyon now only 3 ft wide",
" \n Boy, his arm and his legs are aching now. \n \n CUT TO: \n \n \n \n INT. ABOVE ARON, LOOKING DOWN INTO CANYON. NIGHT. \n \n",
" ARON'S UPWARD POV. \n When it can get no louder Obscuring the light on \n a horse leaps the 6 ft gap his face once they've \n at the top of the canyon. gone and only dust",
" ARON (CONT'D) \n Relax. Stop. Come on. \n He breathes and breathes, taking stock for the 1st time. \n \n \n \n CUT TO: \n \n 21.",
" EXT. BLUE JOHN CANYON. DAY. \n \n \n ARON \n Easy Aron, easy now. \n He keeps moving, descending still, but a little more",
" \n Air exploding out of his lungs. And then a quiet hollow \n sound of the boulder shifting fractionally. A howl of \n phenomenal pain - \n \n \n \n ARON (CONT'D) \n",
" He watches the chockstone follow him - not looking where he's \n going. \n \n CUT TO: \n \n \n \n \n \n INT. CANYON. ARON'S POV. DAY.",
" ARON (QUIET, CLEAR) (CONT'D) \n Get rid of it Aron, it's dead, it's \n garbage. \n He drops to his haunches but the webbing stops him at his",
" he's mesmerized by it. A pair of swifts leave the tree and \n zig zag up and around him. He wobbles and has to stop himself \n lunging head first over the precipice. Instead he drops to",
" \n \n ARON \n It's three-oh-five on Sunday. This \n marks my twenty-four-hour mark of \n being stuck in Blue John Canyon \n above the Big Drop. My name is",
" sky above. \n \n \n \n CUT TO: \n \n \n \n \n \n EXT. SLOT CANYON. DAY. ARON'S POV. \n",
" ARON (CONT'D) \n Come on, move, dammit. \n \n \n Nothing. He stops. And stares directly at the knife below \n him. Absolute stillness. Nothing moves. Not him. Not even",
" CUT TO: \n \n \n \n \n \n INT. CANYON. DAY. C/U TIGHT ON ARON. \n \n Just as he dangles there's a scraping sound, small but close,"
],
[
" Eventually Aron's truck is now alone on an interstate road. \n \n 2. \n \n \n \n \n \n INT. ARON'S TRUCK. NIGHT. \n",
" CUT TO: \n \n \n \n \n \n INT. ARON'S TRUCK. NIGHT. \n \n \n ",
" Aron looks at the beautiful white leather seat before he gets \n in the back of the helicopter. Surreal. It's a startling \n contrast to his Frankenstein, and even now it's not lost on \n him. \n",
" see his truck's lights running parallel with the blackness. \n \n CUT TO: \n \n \n \n INT. ARON'S TRUCK. NIGHT. \n",
" ARON (CONT'D) \n Relax. Stop. Come on. \n He breathes and breathes, taking stock for the 1st time. \n \n \n \n CUT TO: \n \n 21.",
" calls for help. \n \n CUT TO: \n \n \n \n \n \n EXT. ARON'S TRUCK. DAY. \n",
" But no rest. \n \n CUT TO: \n \n \n \n \n \n INT. ARON'S TRUCK. DAY. \n",
" ARON (CONT'D) \n \n HELP! HELLO! \n \n CUT TO: \n \n INT/EXT. PULL OUT OF CANYON. DAY. \n",
" CUT TO: \n \n \n \n \n \n REALTIME - TIME-LAPSE: \n \n \n Aron is deathly still as we travel towards him with the",
" can't believe he's done it. \n \n ARON (CONT'D) \n Shit!!! \n \n CUT TO: \n \n \n \n \n",
" EXT. HIGH ABOVE ARON'S TRUCK. NIGHT. \n \n The truck turns sharp left. \n \n CUT TO: \n \n INT. ARON'S TRUCK. NIGHT. \n \n",
" CUT TO: \n \n \n \n \n \n INT. ARON'S TRUCK. DUSK. \n \n We're in his truck again but this time over his shoulder and",
" Aron leaves work: at no point do we see Aron. He's there, \n you sense him in reflective surfaces, his arms, particularly \n his right one and his feet occasionally come into shot. It's",
" boy, walking downhill towards the sofa. The boy leaps off the \n sofa and comes running to Aron. \n \n 62. \n \n \n \n ",
" Aron is clearly there but can't answer. \n \n \n \n ANSAPHONE (MOM) (CONT'D) \n Call me. Lots of love. \n \n CUT TO: \n \n ",
" Aron's Truck. We sense him in the cab but we're not inside \n with him yet. Music loud and pulsing as we travel towards \n the inflatable Scooby Doo. It's 12ft tall, powered by a mini-",
" obstructed by the boulder and stopped from getting to Aron) \n ...until it breaks. He shudders in shock and drops everything \n for minutes. His head lolls forward dripping. His mind \n swarming with trauma.",
" Aron, of course has his camera with him as he walks out and \n takes a snap of the noise and light. We see his still, it's \n floor to ceiling, wall to wall journalists. \n \n CUT TO: \n \n ",
" Aron's sky darkens above him. Instantly plunging him into a \n dark, violet nether-light. He looks up the canyon as he \n pulls at his arm in panic and tries to gather his laid-out",
" \n \n ARON \n Sweet. \n \n CUT TO: \n \n 25. \n \n \n \n \n"
]
] |
[
"What does Aron do to keep his morale high?",
"After he runs out of water, what does Aron drink?",
"What does Aron unsuccessfully attempt to do with his pocket knife after days of being trapped?",
"After failing to cut himself free the first time, what does Aron do to successfully cut off his hand?",
"What does the family do when they meet Aron after he's freed himself?",
"What does Aron get at the hospital?",
"What does Aron do to try and lift the boulder that has trapped his arm?",
"What does Aron admire after freeing himself from the boulder?",
"What hobbies does Aron participate in after his ordeal in Utah?",
"Who is the mountaineer?",
"Who does Ralston befriend?",
"What slot canyon does Aron hike through?",
"What flatten's Aron's hand and wrist?",
"What does He use to free his hand?",
"What is Ralston forced to drink instead of water?",
"What is the dull blade unable to cut?",
"What knowledge does Ralston realize will allow him to escape?",
"What does Ralston drink after his escape?",
"Where does Ralston recover?",
"Where does Aron Ralston drive to for a day of hiking?",
"What does Aron show to fellow hikers Kristi and Megan?",
"How does Aron initially try to free himself from the boulder that pins him against a wall?",
"What does Aron do in order to maintain morale?",
"With what does Aron try to free himself from the boulder after chipping at it for hours?",
"Why can't Aron cut himself free?",
"How does Ralston amputate his arm in order to escape?",
"Who alerts the authorities to Ralston's presence and predicament?",
"What does Aron stop to admire on his hike back after freeing himself from the boulder?",
"How does Aron get to the hospital?"
] |
[
[
"Records a video diary",
"He creates a video diary"
],
[
"His own urine",
"urine"
],
[
"Cut off his hand to get free",
"Cut off his arm"
],
[
"Break his forearm bones first",
"Makes a tourniquet"
],
[
"Alert the police",
"alert the authorities"
],
[
"A prosthesis",
"a prosthesis"
],
[
"Uses his climbing rope as a pulley system",
"Chip it"
],
[
"Great Gallery at Horseshoe Canyon",
"Great Gallery"
],
[
"Continues canyon and mountain climbing",
"canyon/mountain climbing"
],
[
"Aron Ralston ",
"Aron"
],
[
"Hikers",
"Kristi and Megan"
],
[
"Blue John Canyon",
"Blue John Canyon"
],
[
" A boulder",
"A boulder."
],
[
"A pocket knife.",
"A pocket knife"
],
[
"His own urine",
"His urine"
],
[
"Bone",
"arm"
],
[
"Applying Torque",
"The knowledge of applying torque."
],
[
"Rain water",
"rainwater"
],
[
"A hospital",
"In a hospital."
],
[
"Utah's Canyonlands National Park.",
"Utah's Canyonlands National Park"
],
[
"An underground pool.",
"underground pool"
],
[
"Uses his pocket knife to chip away at the boulder.",
"He tries to chip away the boulder"
],
[
"Starts filming a video diary.",
"Hallucinates"
],
[
"Sets up a pulley system with his climbing ropes to try to lift the boulder.",
"pocketknife"
],
[
"His dull blade cannot cut through bone.",
"The knife blade is too dull"
],
[
"Applying torque, he breaks his ulna and radius.",
"He breaks the radius and ulna and cuts the tissue."
],
[
"A family that he meets on his hike back.",
"A family on a hike."
],
[
"The Great Gallery at the Horseshoe Canyon.",
"The Great Gallery at the Horseshoe Canyon."
],
[
"The Utah State Patrol dispatches a helicopter.",
"Helicopter"
]
] |
033a2dae1f69467127ee67acdf39fa97c031c57b
|
train
|
[["\"That depended a good deal upon the other fellow. Some of them--most of \n 'em, I was going to s(...TRUNCATED)
| ["Who helped them when they got several flat tires?","Who offers them free drinks and hotel stay?","(...TRUNCATED)
| [["Brad, Steve, and Norah","\"The helpers\""],["Steve","Steve"],["Jordan, Brandy, Ryan, Andy","Jorda(...TRUNCATED)
|
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train
|
[["\"Nothin' particular,\" he answered, softly. \"'Cept that maybe Bill Jones \n ain't called Lightn(...TRUNCATED)
| ["What do Lightnin' Bill Jones and his wife do for a living?","What state line is the hotel located (...TRUNCATED)
| [["Operate a hotel","Operate a seedy hotel"],["The California-Nevada state line","California and Nev(...TRUNCATED)
|
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|
[[" \n SQUINTS (V.O.) \n The Beast belongs to Mr. Mer(...TRUNCATED)
| ["Who owns the junkyard?","Who is the protagonist of the story?","At the end of the story, where doe(...TRUNCATED)
| [["Mr. Mertle","Mr. Mertle"],["Scott Smalls","Scotty Smalls"],["Miliary School","He is sent to milit(...TRUNCATED)
|
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|
[[" GUTENBERG EBOOK GADSBY*** \n \n \n E-text prepared by Stephen Hutcheson and the Online Distribut(...TRUNCATED)
| ["What's the name of Gadsby's hometown?","What is the town's population at the end?","What does the (...TRUNCATED)
| [["Branton Hills. ","Branton Hills. "],["60,000.","60,000"],["His poor writing skills. ","His poor w(...TRUNCATED)
|
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|
[[" Uncomfortable, Scotty exchanges a glance with Bones -- \n \n (...TRUNCATED)
| ["What does Dr. McCoy advise Admiral Kirk to do when they meet on Kirk's birthday?","Why is the crew(...TRUNCATED)
| [["get a command rather than growing old behind a desk","Get a new command"],["for testing of the Ge(...TRUNCATED)
|
15e5cdd93340ecf4ab97248e15f3870eb26bf10b
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|
[["\"As I have told you,\" exclaimed Hal, \"it's not merely my opinion; it's \n the opinion of the o(...TRUNCATED)
| ["How are the workers in the mines treated by the bosses?","Why is Hal torn when he grows close to M(...TRUNCATED)
| [["Terribly. They are miserable and exploited.","exploited"],["He has a fiancee back home.","because(...TRUNCATED)
|
1905d5891ab7c5797b3b59ccf1c206059ed73888
|
train
|
[[" Future Planning Committee is the war \n committee. You do(...TRUNCATED)
| ["What is the Future Planning committee? ","Where do the UK and the US want to stage a military inte(...TRUNCATED)
| [["A secret war committee. ","war comittee"],["The Middle East. ","Middle East"],["To leak it to the(...TRUNCATED)
|
1b48982220584874f6abed587219f6d73e85abd8
|
train
|
[[" These were the words I heard as a \n peasant b(...TRUNCATED)
| ["What are the Ogdru Jahad?","Why do they name the infant \"Hellboy\"?","What are Sammael's powers?"(...TRUNCATED)
| [["monstrous entities imprisoned in deep space","monsters "],["The infant is a demon that came throu(...TRUNCATED)
|
1f8e03c7b6a6864108933fba1906455f78e4cfa6
|
train
|
[[" that President Mandela will be \n visiting South Africa this week. \n (...TRUNCATED)
| ["Who became the first black president of South Africa?","What sport do the Springboks play?","What (...TRUNCATED)
| [["Nelson Mandela","Nelson Mandela"],["Rugby","Rugby"],["The Rugby World Cup","Rugby world cup"],["I(...TRUNCATED)
|
249d8fe6a6e81a8da422d5b7bdd9bf1c52aaa2fc
|
train
|
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